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Dileesh Pothen films: A Thread,
Dileesh Pothen oscillates between 2 motifs in his films. (1/3)
In Maheshinte Prathikaram, rain and sunlight (ie, sky as a metaphor) are used as contrasts/cinematic devices that shows the transition of Mahesh's life, from a relationship breakup to new bloomed life.
In Maheshinte Prathikaram, rain and sunlight (ie, sky as a metaphor) are used as contrasts/cinematic devices that shows the transition of Mahesh's life, from a relationship breakup to new bloomed life.
In Thondimuthalum Driksakshiyum, from the serene and lush backwaters of Alappuzha it jumps to the dry landscape of Kasargod. And this usage is very interestingly done through a non-linear narrative, which basically calls outs deceptions in first appearances - (2/3)
That all humans are intrinsically the same. There's no good/evil definitions in the film. All of the characters have a humane side as much as a cynic side. Thondimuthal is but rather about the undying hope in humanity. (3/3)
Visual cues are convinctingly used to formulate a film language (1/2):
The first shot is a cinematic moment where Mahesh learns the essence of photography. The second is Mahesh accomplishing the skill through his muse (also his, soulmate). Pothan uses high-angle close-ups.
The first shot is a cinematic moment where Mahesh learns the essence of photography. The second is Mahesh accomplishing the skill through his muse (also his, soulmate). Pothan uses high-angle close-ups.
The two dirty single shot composition used here is literally where Prasad Sreeja/Kallan Prasad arc begins and ends. The second frame holding a similarity to the first releases an intimate emotional satisfaction ― given how the dynamics b/w them changes. (2/2)
Pothan establishes the dramatic premise right from the word go in both films. In Thondimuthal, he uses a play where the "lovers" plan to marry sans their parents knowledge, and often repeats the words “Thaalimala” (Wedding Chain) multiple times.
Close-up shots are used to highlight the interval block.
This might not be intentional, but amusingly in both of Pothan's films, Alancier bears the conflict of social morality. In Thondimuthal, his character is indistinctly established as an RSS affiliate.
Every element adds to the emotion, Usage of Rain, the gloomy cinematography, Fahad's acting.. but the most underrated of all is the sound design which disturbs the particular scene for the worst.
Another moment where Sound is effectively used to amplify the emotion of Mahesh. Even more disturbing this time.
Sound design compliments the realistic action. This scene in particular was a shocker while watching in a theatre.
Pothan's filmmaking style is certainly inspired from auteur KG George. But apart from that, “theatre” binds them both. The rain in Maheshinte Prathikaram is inspired from Yavanika, and there's a homage in the film too. Thondi and Yavanika has a meta-drama's atmosphere.
